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The Complete Symphonies | 
 enlarge | Artists: L.v. Beethoven, Bruno Walter
Label: Sony
Category: Music
Buy New: $179.99
New (1) Used (1) from $179.99
Avg. Customer Rating:  10 reviews
Sales Rank: 263676
Format: Box Set
Media: Audio CD
Discs: 6
UPC: 074644809923
EAN: 0074644809923
ASIN: B0000027UK
Release Date: December 5, 1991
Availability: Usually ships in 1-2 business days
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| Tracks:
Disc 1
| • | Adagio molto - Allegro con brio | | • | Andante cantabile con moto | | • | Menuetto, Allegro molto e vivace | | • | Finale, Adagio - Allegro molto e vivace | | • | Adagio molto / Allegro con brio | | • | Larghetto | | • | Scherzo, Allegro | | • | Allegro molto |
Disc 2
| • | Allegro con brio | | • | Marcia funebre, Adagio assai | | • | Scherzo, Allegro vivace | | • | Finale, Allegro molto |
Disc 3
| • | Adagio - Allegro vivace | | • | Adagio | | • | Allegro vivace | | • | Allegro ma non troppo |
Disc 4
| • | Poco sostenuto - Vivace | | • | Allegretto | | • | Presto | | • | Allegro con brio | | • | Allegro vivace e con brio | | • | Allgretto scherzando | | • | Tempo di Meneutto | | • | Allegro vivace |
Disc 5
| • | Allegro ma non troppo | | • | Molto vivace | | • | Adagio molto e cantabile | | • | Presto - Allegro assai / Recitative - Allegro assai |
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| Customer Reviews: Read 5 more reviews...
The most underrated of the greatest conductors? April 25, 2007
4 out of 4 found this review helpful
Bruno Walter may yet recapture his due credit as one of the supremely gifted interpreters of the titans of music. He is still recognized as such in particular repertoire, e.g. Brahms and Mahler. Many accept that Walter remains the greatest interpreter of Mahler's music. His recording of Mahler's Ninth with the Columbia Symphony is sublime with a final movement unmatched by anyone. Which just goes to show that this sometimes maligned orchestra is the equal of any.
It is important to make a point about the orchestras handpicked for Walter by Columbia Records (now Sony). The first incarnation, while Walter lived in NYC, was made up of NY Phil and Met players among others. In this Beethoven set and for most of the Columbia Sym recordings, however, we hear mostly players of the LA Phil, as Walter had taken up final residence in Beverly Hills. (The last movement of the Ninth is recorded in NYC, and it is not clear which players are involved there.) While some have nit picked the playing of the CSO in certain recordings from time to time, I find this criticism unwarranted. The CSO gave Walter everything he asked for and much more with often splendid musicality and simply beautiful tones. In this set there are outstanding examples of a superior orchestra in top form for a master. As spoiled as I can be by the Karajan-era Berliners on CD, and by the Philadelphia Orchestra in concerts over more than three decades, I still can appreciate with great pleasure the musicianship of the CSO players and can never hear enough of them.
Nor is it really fair to say, as some have done here, that Walter had slowed or mellowed in his old age. Walter had conducted a very long time, and, like his mentor Mahler, always wanted each performance to be "new". This is evident throughout his career to anyone like me who has listened to most of his recordings spanning it. And his outlook on conducting technique changed over time. While one can say generally that he conducted quicker tempi in his younger, rather youngest years, he later on varied his tempi considerably with the same works from one performance to the next. And not unexpectedly his tempi tended, as with most performers, to be quicker during concerts. But in this Beethoven set we hear what became an evolved standard in his so-called late, or Indian Summer-period recordings for the most revealing detail and for constantly urging his players to make their instruments "Sing, sing!" It is a difference in emphasis, not the difference between tension and gentleness. Perhaps the "gentle" listener needs to listen just a bit more attentively, because the passion is all too evident both from the conductor and the players.
Walter was also the object of a recurring criticism about his erratic baton. As any ensemble musician would know, this is a phony proposition, and Walter's rank among the greatest conductors alone dispels the notion. He was famously admired for his mastery of rubato, and the suggestion this could be so with an incurably erratic baton is nonsense. Enough said, but doubters might watch a rare CBC video of Walter rehearsing the Brahms Second Symphony with the Vancouver International Festival Orchestra in 1958 to resolve any of these criticisms (available as "Bruno Walter, the Maestro, the Man"). It is a truly remarkable document, if all too brief. I would also refer the reader to the recent Erik Ryding biography ("Bruno Walter - A World Elsewhere") which notes, just for example, that the 1960s CSO recording of the Flying Dutchman overture is nearly identical to the Royal Philharmonic recording from the mid-1920s, although many intervening performances were quite different.
This emphasis, then, on letting the detail sing out, essentially allowing the players to be their most naturally musical, provides quite gloriously beautiful results. It is the magic of Walter's baton and the stamp of his vast experience on the interpretation that makes the richness of the music sound so "right" overall and capture the listener so completely -- ensuring that you are able to appreciate those sublime moments when the composer's genius and the player's art are fully mediated. Yes, there are countless moments like these in the entire range of Walter's recordings, not least those with this CSO.
A last word about the criticisms of the Ninth's last movement, which, regardless of your view, is certainly not a reason to overlook these wonderful recordings. One thing I've learned from owning and repeat listening of literally scores of recordings from most of the conductors of Beethoven's Ninth: there is none of them able to claim the mantle of the definitive version or performance. Every great performance of this symphony, including this one by Walter and others like the fiery Walter/LPO concert performance mentioned by another reviewer, is quite differently "correct" in its success. I would mention three other conductors: Furtwaengler in the wild wartime Berlin Phil and the 1951 Bayreuth Festival concerts; Klemperer's concert performances with the Philharmonia in 1957 and 1961 (on BBC Testament; avoid the EMI studio version); and Karajan's recordings with the Philharmonia (EMI) and three times with the Berlin Phil (DGG), each time with better recorded sound, interpretively equivalent albeit with nuanced differences. Only Karajan made comparable complete recorded sets of the Beethoven symphonies, and brought a different mastery to the stage. All of this is to say that this Ninth by Walter and the CSO is decidedly not second rate, rather it is -- even in the last movement -- an authentically glorious rendition worth every penny and much more. It has much to "say" about the music, not to mention some uniquely enchanting moments.
I second the remark by another reviewer that every lover of Beethoven must have Walter's CSO set on the shelf. This is also true of Walter's recordings of Mahler, Brahms, Bruckner, Mozart and the all too few samples of Wagner and Berlioz. Needless to say, listen often with sheer delight!
An incredible Cycle!!! August 31, 2004
Rather than goading and beating his players sensely Walter was always a gentleman of conductors and was very much old world by the time the 50s came about. Never in a rush, these interpretations balance a view halfway between modern interpretation of Conducting and yet maintains the old world sense of proportion and blend. The Columbia symphony sounds wonderfully European...robust woodwinds out front and a natural unforced balance between winds and brass.
Rather recently I heard the Naxos Tintner set and was very dissapointed with the Beethoven installments..and in No. 4 you simply have to listen to Walter. The warmth and roundness of phrasing and the subtle dovetailing of phrases is an instance where Walter can never be matched. I also dislike the idea of doing Romantic interpretations with Chamber music forces...here the Columbia symphony is around 75 players and yet play with a smooth clean sound that is very delicate...
I have a great admiration for Szell as well and for different reasons...Szell is very clean and more tense generally which works for Beethoven. However, I really think any genuine collector must have Bruno Walter's complete recordings on the "shelf". They are simply great and appeal to the sensibilities of serving the music without fuss.
Gentle Intensity: Bruno Walter's Beethoven July 18, 2003
15 out of 15 found this review helpful
These vintage recordings from the last fifties and early sixties capture all the warmth, insight, and gentle intensity of Bruno Walter's interpretative stance on Beethoven. Textures are clear, inner voices sing, and melodies flow with a gentle and passionate inevitability. The structure of the symphonies (despite the absence of any exposition repeats) unfolds with both clarity and narrative expansiveness. At times, Walter's art reveals a distinctive charm in the handling of rhythm: just note the opening of the second movement of the fourth, the genial ritardtando at the opening of the "Pastoral," or the almost coy viola patterns at the end of the second movement of the eight--absolutely inimitable Walterian timing.
Charm, however, is not the whole story. The epic grandeur of the "Eroica," the rhetorical gestures of the fifth, and the rhythmic vitality of the seventh all find unique expression in Walter's imagination: his third blends power with pathos, his fifth unites drive with ardent longing, and his seventh seamlessly and paradoxically weds febrile energy with Viennese swing. As for the ninth, the almost operatic passion of the first movement of the ninth, the granite-like strength of the scherzo, and the elysian warmth of the third movement are all unique in the Beethoven discography. Disappointingly, the crowning fourth movement lacks a foward moving structural impetous (how uncharacteristics of this set!); nevertheless, the soulful unfolding of the "Ode to Joy" theme in the strings is very moving. The choir tries to deal with the slow tempi--it seems that Walter is seeking some sort of metaphysical stasis to contrast with the drama of the opening movements--but ultimately, though there are many heart-warming touches, the finale fails to ignite. (This recording could be nicely supplemented by a "live" version of the ninth that Walter made with the London Symphony--what fireworks go off in that performance!!)
Despite this important blemish, this set of Beethoven symphonies is indispensable to the serious collector--endlessly fascinating in detail, warm in recorded sound, a living portrait of an artist who combined seraphic gentility, clarity of structure, and Dionysian passion to a unique and unrepeatable degree.
Overall, one of the finest Beethoven interpretations April 30, 2003
15 out of 16 found this review helpful
While there are many historic Beethoven symphony recordings of great merit (Furtwangler, Toscanini, Von Karajan) the Walter recordings (1958-1963) are perhaps the most satisfying overall. Walter takes a decidedly un-modern approach to tempo (SLOW-ER!!) so you hear many things in especially the second, third, seventh and eighth you normally do NOT hear in the more popular brisk tempi of Toscanini, Bernstein or Von Karajan. While Von Karajan's Ninth is probably THE gold standard for the greatest of Beethoven's symphonies, overall, the Walter set is important if you want to hear how Beethoven was interpreted before either the technical bravura of the 70's and 80's or the harkening back to "as Beethoven would have heard it if he weren't deaf" attempts of reconstructionists. The sound isn't so clean and bright--these were older recordings, but the interpretations never fail to please me. Lots to listen to in this set for lovers of the Titan Beethoven.
Bruno Walter, Beauty and Beethoven's Nine January 7, 2003
11 out of 11 found this review helpful
Bruno Walter believed in music as a moral force, its power to influence for good. His convictions are obvious in these great performances! They glow with generosity of spirit, very much `of the light', full of joy and beauty. No performances of these inexhaustible masterpieces so effectively reveal their beauty, but a beauty that is more than skin-deep. Walter reveals profound depths in the music. The first movement of the 9th is performed with exceptional, monumental strength, (pre-echoes of Bruckner).We're privileged to have these recordings. They are in a very real sense beyond criticism; well recorded and sympathetically played by the Columbia Symphony Orchestra. This was an Indian Summer if ever there was! Others have valid alternative views, things to add (not least Bruno Walter's contemporary and antipode Otto Klemperer). But Walter's view is indispensable, exceptional, unsurpassed.
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